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When Violent Success began, it was a way to express our love for music and the art that these artists painstakingly created for us to make our lives a little more interesting and better. After a couple of years of primarily writing solo, John Littlefield (Founder/Editor in Chief) expanded into other points of view by adding writers and their opinions. If you’re here reading this, you’re probably more familiar with their work far more than his because not only were they the heart and soul of Violent Success, they were the reason you came by to read, enjoy and hopefully come to love what we did here.

However, all good things sometimes come to an end and this is what this entry is about. After almost 5 years, the workload demanded to keep Violent Success going became too much for any of us to handle. We’ve had very high standards here for a while and if we couldn’t for some reason maintain the quality of it, we agreed that it was best to leave it right here, suspended in time. While it was difficult to do, we knew it was for the best.

While we worked for years covering music in many forms, the primary reason we did it was to introduce you to your favorite and soon-to-be-favorite artists. We hope you found and will continue to find many things here that are to your liking. Our writers are still working and writing in MANY other places and we encourage you to Google their names to find their current work and follow them. We also included a few links to places that members from our staff have gone on to found themselves and/or work to make better. This isn’t necessarily goodbye, it’s the beginning of many new chapters.

This domain (violentsuccess.com) will stand as more of an account of everything we did here over the years until January 2017 wherein you can peruse all of the things that we did. So until then, thank you again for reading and listening…

On the one hand, the Ukiah Drag’s album In the Reaper’s Quarters is pure, undeniable, demented fun, a dark, garage-psych revel that taps into the more unmentionable human urges and wears them like finger puppets. I want to compare them to acts like The Cramps and similar hooligans, but to call it a ‘fun’ record might give the impression that they stop merely at fun, that they hit that ceiling of euphoria and simply cruise from there–no, they blast straight through into that chaotic hell in the sky, and give it something gnarled to swallow.

The album runs a sparse seven tracks long and devotes the opener to a drum-and-groan intro, which winds up being an indispensible element in their ‘EC Vault of Horror’ aesthetic. What could come off as tiring by a less dedicated group becomes an engrossing ritual–the Ukiah Drag had me hooked for all three minutes of it, because it’s just as attentively excessive as the rest of the record: the organ’s set to simmer, the bass drum clears the airspace with doom-intoning blasts, then vocalist/guitarist ZZ Ramirez waxes prophetic in the background-pushing-into-the-fore, spitting the arcane obscenities necessary to transmute fang-baring fun into primitive truth. I can hear Johnny Rotten on a windswept street corner, hurtling his own cry of “eeyeeeaaammaannnanti-CHRIST” in the past that’s folding forward into the present.

In an interview with Noisey, ZZ declared: “It’s 2014. Every riff has been used. Everything has been taken. It’s not like we’re trying to write anything brand new and have the hottest freshest thing. It’s more just fine tuning a handed down past. Rock ‘n’ roll’s been around forever.” But it isn’t with a sense of defeat that he declares the six-demon-bag empty, In the Reaper’s Quarters makes that rather clear–it’s more a declaration of alliance with, or invocation of a gleeful primitivism in the genre. Not that their sound is primitive, it’s just, well, fun, in the most basic sense of transgression as release, blasphemy as self-assertion.

“Her Royal Grip” kicks off a four-track run of unbearably solid aggression and lunacy. The dark formula involves martial percussion and a riff perpetuated here by rhythm guitar, here by organ, while ZZ’s vocals and the lead guitar careen and swirl in the uncertain murk they’ve created. His lyrics take the shape of freeform spellcasting, his inflections pitching and hurtling to a force he sounds only too happy to vessel. The whole mix overboils and retreats skillfully, reining in the bucking horses for a welcome metallic-funk interlude that climaxes in a snakebite of a line:”You’re goin’ no-where / cause there’s no-where to go / You’re goin’ no-where-but-DOWN.”

From there on out, the Ukiah Drag’s careful to keep every track positively teeming with menace, and make every scrape and drumfill count. Their level of technical skill involves nothing too fancy, just what suits their purposes: a whammy bar whiplash here, muscle-car purrs, a flair of wah-wah there, all towards the successful end of propelling In the Reaper’s Quarters far past that point where most peers’ riff tanks run dry, and they’re left retreading the same ground in impotent frustration.

‘Slower’ numbers like “Final Prayer” and the monumental closer “Night of Immaculacy” (gotta love their simple poetry) sway magnificently, making use of the slower tempo to charge more punch to the down-crashes–the Ukiah Drag gallops even as it crawls, and there’s the stark sensation of mounting the stairs of a falling spire..

What’s less noticeable than the doom, punk, and garage elements, are the hints of psychedelia; I was actually surprised to hear that comparison in another article, but it’s true. In the Reaper’s Quarters is just as hypnotic as it is fierce, it’s hypnotic because it’s fierce, and because of the group’s crawling chaos-approach to heaviness, that prefers its legions of licks in a disorderly rabble rather than ordered brigades. The psychedelia’s also in ZZ’s lines as they coax the ego into considering its opposite, creating a space of possibility for the nightmarish to emerge. Perhaps on some level, I’d intended to save this review for the day before Halloween.

The only puzzling misstep might be the drifting “Wait and See,” in which ZZ croons (insincerely, when I think about it) “Sorry for the things I said…” but even that achieves a sense of menace (“…but I couldn’t help myself…”) by the end, and the exquisite haunted-house layers don’t let up at all.

The Ukiah Drag have succeeded in bringing something enormous to bear upon us, a volcanic landscape as varied as it is deep, as terrifying as it is blissful in the release of its swampy phantasia. And if seven tracks seems all too brief for you, praise the goat-headed demiurge that spat you upon this earth, because they’ve got a side-group called Cottaging going. Seek it out. 8.5/10

First impressions are crucial in the world of music and from the sound of their debut single, no one seems to know that better than Minneapolis’ own, The Great Outdoors. Comprised of members August Ogren and Matt Beich, the indie pop duo has captured something infectious and lovely with the track ‘New York Rain’. With lyricism as poetic as the title and instrumentation so full, you almost forget that the band consists of just two members. A dreamy, almost nostalgic quality takes over as you listen and the song transports you elsewhere.

By far, the standout element of the track is the exceedingly endearing quality of the vocals. Ogren and Beich’s combined vocal efforts are sweet and gentle, reminiscent of Local Natives‘ Taylor Rice, with a warmth akin to that of James Mercer.

Endlessly charming and ever-so-slightly haunting, ‘New York Rain’ is just a taste of what is to come with the the duo’s forthcoming EP. If the beauty in this track is any indicator, The Great Outdoors will be an act to watch.

Paisley skies, twee as fuck, Indie Pop until the hit parade is over, Shoegazing until the sun hits. I sit down with Kevin Attics and Nathaniel Cardaci, Philadelphia’s Literature. We discuss Chorus, Slumberland Records, Indie Pop, their origins, and a broad range of topics on the decadence of music.

So, let’s just jump right in. Indie pop. I read somewhere that indie pop isn’t noisy, and is a less angsty version of what was coming out alongside it. I don’t think that’s true at all. You guys have a good grasp of what Indie Pop is. What do you think of that statement?

Kevin: I agree with you. I don’t think Indie Pop is confined to a narrow definition of “less noisy than” or “Collegiate”. When punk came around, there was a lot of aggression and they channeled it into this thing that was ripping on pure pop from the early 60s, late 50s, making it brattier and in your face. Whereas, Indie Pop was an appreciation of pop, all around. These people were in love with hooks and choruses, and they used those to convey just as much angst, just as much caustic wit. It was channeled through a different layer.

Nathaniel: It’s really hard to say. I feel that all the Punk and DIY starting from ‘78, or some point onward, to the Indie Pop of the 80s and 90s is sort of intertwined together. It seems more like, the people who aren’t playing in the bands but going to the shows see them [the two genres] as more separate than they actually are. We go to a hardcore shows, we go to punk shows, we go to hip hop shows, we go to all the shows, and we see tons of different types of people out. It seems like something [genre defining] to pigeonhole a band, any genre that’s defined can do that. People are trying to narrow it down.

* A nice waitress then asked us for our food orders, we did not order.*

Chorus has an amalgamation of differences in itself, and you’ve changed the sound of Literature. In the perspective of Indie Pop, how did you morph that stylistic sound and how did you approach writing the orchestration?

Kevin: I think that Arab Spring, our first record, was a love letter to power pop. Whereas Chorus became a love letter to jangly Indie Pop ranging from the 60 to the 80s.

Nathaniel: Basically, transitioning. We naturally went forward, and got into jangly indie pop. Back when I was working at a record store I discovered this [indie pop] stuff: The Cleaners From Venus, Robyn Hitchcock. Kevin was discovering this stuff on his own, we would come together and play all these songs, and hangout.

K: It’s almost like our journey of self discovery with music mimed the way music progressed from the 70s to the 80s, like the kids that transitioned over from power pop to jangly 80 guitar music. We were playing this music, and we were much younger, and we found this thing called Power Pop. We got really into it. We kind of hit a wall with it. Which is why it phased out of popularity for a while. But, a lot of those bands went on to make jangly Indie Pop. We were really getting into The Wake and Hit Parade.

N: And Cherry Red Records started re releasing a lot of stuff too. The Monochrome Set, years ago, Sinceros as well, which is a good bridge between Power Pop and Jangly Pop, and just bridging into mainstream Pop really. When it comes down to it, we are record nerds. We just went into this direction with the band because these are the records we were into at the time. Obviously they hold a very special place for us but, I don’t know, it’s just fun to get in there [putting the records on] and play stuff that’s been lost for a while. Putting it on the turntable again makes it feel brand new for us.

K: When you first get into music, it doesn’t all catch your ear immediately. I think there was one time, a few years ago, where we were on the tail end of listening to all the power pop stuff, and then Nate brought in a Robyn Hitchcock record. I love Robyn Hitchcock. But, all of a sudden, bam, this was the best thing I had heard in such a long time. We became obsessed with Soft Boys and Robyn Hitchcock and The Egyptians.

N: I have heard Sarah Records bands and want to get into them. Herbie Schellenberger still owes me a Sarah Records Mixtape, waiting for it…

K: We like Sarah Records, we have this friend who could write a book on it. He was in the band Brown Recluse and Pet Milk. He still owes Nate that tape. Herbie needs to send us this tape.

*Note: Herbie, you have to give them the tape.*

N: I only recently got into Felt, in the past two years. It was one of those bands that you [Kevin] were talking about, where I had heard them in them background, but didn’t dislike it.

K: I was telling him that he had to listen to Felt. For us, we find out about music, we get into the same music, it seems like a lot of the time. One of us will get into something earlier sometimes.

One who has a good ear I think can hear and distinguish that the songs are very well thought out, they aren’t spur of the moment and thrown together like some Indie Pop.

K: We definitely are fans of pop music. As such, we definitely want to keep the same approach we had from the last record. But, we didn’t keep that same approach on this record and now we are moving back toward our warts and all approach. However, things like composition are incredibly important to us because for some people you go up and play harder towards the end and that’s how you get off. But, for us, to maximize our enjoyment of a song and feel like we can say everything we need to is if we can create an arch within it, a dynamic shift. Like, I’m not going to feel as good playing this if I don’t put a chorus behind it. We write the songs 50/50.

N: And on that note, I feel like Kevin and I have been playing in the band for a long time but, we’ve been hanging out, playing guitar, and listening to music since I was 20. I’m 28 now.

K: We’ve been friends for a long time.

N: Yeah. We would always talk about the craft of songwriting. It was a sort of headspace. For me, it feels like we’ve found the door, cleared the weeds away, but I don’t feel like we’ve gotten in and perfected it. Personally.

K: We are working towards something quite bigger. We like Chorus a lot but I feel like the stuff we are doing now is a better expression of us, from better learning the craft of songwriting.

And how do you feel with that pinnacle, knowing that is there and that you want to achieve it. Is there some sense of hesitancy achieving it? Or, do you want to go hit the peak and challenge it?

K: Yeah, exactly. It’s more about if you are in love with songwriting you will always to try harder to express yourself in a wholly individual way. There is no peak. We are going to be able to learn more about ourselves and the craft, and enjoy ourselves more and more with every song we write and the shows we play.

So this is the first release you’ve done on Slumberland. From what I read Mike backed you guys heavily.

K: We recorded the record not knowing Mike was going to put it out. But throughout the process we would send him mixes, and he would write back. To preface this, the album was recorded during an extremely brutal winter in New York. We were traveling between Philadelphia and New York to record the Chorus. That can tax you emotionally. Knowing that you might only have two days to record what’s in your head can wear you down. When Mike would write back, “These sound great!”, I was like, okay, man, Mike think these sound great. Somebody outside our group of four people thinks these are really good. Somebody whose opinion we really trust.

N: And on that note too, we recorded everything else with Michael Landon, the first record and the first two 7 inch, even in our other bands. We only had one sort of view, so to have someone else say it was awesome, we went, alright let’s keep working on it. But, it’s definitely hard sometimes, when you are stuck in the middle of a project.

K: I think took me about two months after the record was finished to go back and listen to it and say, alright, I’m happy with this. We were living inside that record for seven months.

How does it feel to play the songs live then?

K: Liberating, now.

How about when the record was first completed?

K: The thing about Chorus, compared to Arab Spring, is that we recorded it after playing those songs for years and years. In this record, we were much more production minded. A lot of it was written in the studio, so it was exciting and scary to have these songs that were supposed to use the studio as a primary instrument. Then asking, how are we going to play this live now? Sometimes there are things [orchestrations] that you can’t do live but, then there are ways to make it sound like it wouldn’t be as cool on record. There are ways to make it take off. It was about finding the balance between the two. I think that it has been a process, and that we have really enjoyed learning how to take things and recontextualize them.

N: We pushed the record a lot harder in the studio. Then we came back to the band, and we weren’t going to add any new members to it so, how are we going to make this work? I thought it was very fun, reworking the songs again.

K: With the next record, we are going to definitely strike a balance. We are going to use a lot of production in the studio because we don’t want to step back in a sense. We know a lot more of what we want to do now.

N: A lot of the stuff worked out well.

K: There was definitely a lot of stuff that didn’t make it on there. There is enough for a whole other record.

How do you feel being, from what I hear, the only Indie Pop band, on a sort of island that is original but, at the same time retrospective?

K: I disagree with that, because I think one of the reason the record was made was due to us falling in love with a community of people up there who are all musicians in fantastic bands. There is almost a salon sort of happening up on the East Coast, where there are bands like Expert Alterations and bands like Wild Honey, Gingerlys, Catnaps, and Sapphire Mansions. We would go to their shows and they would come to ours, and everyone was excited about what was happening with the music. It feels like, without that community, this record wouldn’t have happened in the same way at all.

N: I felt, not to contradict him, as the record came together we sort of started to meet more people in the scene. It wasn’t until the record was mostly completed that we met people.

So this is then just my own ignorance.

N: No, no, it’s just that most these bands, you go back and look them up, most of them are done. They aren’t bands anymore.

K: There was a dry spell of Indie Pop, I feel like. Now it sort of coming back.

N: But half those bands, a good amount of those bands you listen don’t exist anymore.

K: Catnaps doesn’t exist anymore.

N: I think there’s one more in there.

So it is a thriving community.

K: Absolutely. I feel like it is. I feel like there a bands throughout the US, we met the member of a band called Summer Rays in Clevland. They are fantastic. If you are in a good Indie Pop band and you are putting yourself out there, I feel like there is definitely a social network in which you will get passed along. There is an audience for you.

Coming back to Slumberland, how did you guys come in contact with them?

N: I was at a show, maybe around 2006?, when I was living in New York. Mike was also at that show, it was the The Lodger. Their first two records had a huge impact in how I thought about writing songs, before we ever contacted Slumberland. I was definitely influenced by the bands on the label. But, we were found through Skatterbrain!.

K: Our friend Matthew Edwards, who runs the Skatterbrain! blog from Philadelphia, also a great resource for Indie Pop.

N: That is an excellent way to find Indie Pop bands that are still around and that are brand new. Through that and through Herbie, we were found. Our record was passed through the community and Mike emailed us.

K: Because Kip heard it, and Kip tweeted about our 7 inch, which nobody really heard. When we released our first record Kip heard it and Mike bought a copy, and from then we kept in touch with Mike for the next two years, while we were recording. Mike was enthusiastic during the process and in putting out Chorus.

Any pressure with being on such a legendary and iconic label?

N: I felt awesome about it.

K: There was definitely a moment of, you work your whole life up to this idea. It was like, okay man, this is one of my favorite labels and I got signed to it. I work as a teacher when I’m not doing this and I remember, I was on a schoolbus, I felt like, alright my life is alright now, everything is going to be okay. Never going to be hurt again.

N: It was very validating. The first Pains album was super influential, and now we were being recognized by the same person who recognized them. We were super excited.

*We then began to discuss Pitchfork scores in depth. Fun fact: Kevin was once a Pitchfork Writer!*

That Pitchfork article, “Twee as Fuck”… The journalist who wrote that said Indie Pop had a particular aesthetic.

K: That was completely contradictory, because she says it fits a particular aesthetic but, the music she puts on the playlist to go along with the article ranges drastically. The TV Personalities was on the playlist, and she puts them with Tiger Trap. Right there, they are so stylistically different. TV Personalities are so caustic and bohemian-decadent.

Wow, you really did write for P4K.

N: Yeah, you see how many buzz words he threw out there. New ones, bohemian-decadent.

K: Put a hyphen between bohemian-decadent.

This interview is definitely an 8.5.

K: This interview is an 8.5. But, Tiger Trap have a soft power and are heartbreaking. You put those two bands back to back, they are completely different, it would be hard to tell that they came from the same genre.

The beauty of Indie Pop is that it is diverse and versatile, you guys are a testament to that.

K: I think that Indie Pop is Independent Pop Music. What Pop Music is, is variegated.

N: It doesn’t mean that everyone has to sound like Belle and Sebastian and stick to a particular style. We love Belle and Sebastian but Kevin put it perfectly. We love Pop Music from Duran Duran to the Spice Girls.

K: Pop Music One-Hit- Wonders from the 1950s to La Roux. It’s as wildly diverse as what pop music is, it just has independent tacked on to it.

I’m going to ask you a cliche question.

K: Can we guess?

N: Is it where the band name comes from?

No, that’s been answered.

K: We should change that answer every time we are asked.

Okay, let’s do that question then. What’s the answer going to be?

N: I channeled something from the Netherworld.

K: What’s the actual cliche question?

When did you guys start playing music and writing music by yourselves, and how did that cultivate into becoming Literature?

K: We started playing music really young. Before Nate turned 20, he already released a 7 inch.

N: Two tapes and a 7 inch.

K: I grew up in Austin, Texas. I was playing terrible, terrible shows. But, I was playing them around town when I was 16 or 15. We wanted to play music, whether or not that music was good. We wanted to do it. As our tastes refined, we fell deeper and deeper into the art form. We got better at channeling what is effective to us. It was whatever allowed us to express ourselves and was inspiring. We obviously had these wildly diverse interests in music, we all liked stuff outside of poop music. But, we drew a lot of inspiration from there. We were all close friends and we wanted to start a band.

*We discussed the X Files in between this answer and the final question*

What’s next and where is Chorus for you in your repertoire? How do you feel Indie Pop is shaping now, and how are you revolving and evolving around that?

K: Well, we are writing the songs right now.

N: I feel like with meeting some of the bigger figureheads in the Indie Pop community, playing with some of the smaller bands, it seems as if it is very open to whatever creative whims comes. It’s not constricting.

K: We are definitely going to try to make this next record a lot more of a statement.

Something punctuated?

N: Something punctuated.

There’s a buzz word.

K: For us, it’s going to be refining our abilities to write, more and more and more. With the next record we feel like we are getting to a point where the influences are taking a back seat, and we are now writing songs that fully come from us. It’ll be us flying our own flag a little bit more. Treading on uncharted waters. We’ll see what happens. We could fall on our face, we could drown. That’ll be the sound Literature is known for, four kids in Paisley drowning.

Thanks guys.

Literature’s Sophomore album, Chorus, is out now via Slumberland Records.

One of our authors recently got his Facebook account hacked. Therefore we've decided to dedicate this post to how to keep your Facebook account secure from getting hacked by hackers.

Cyber criminals love hacking Facebook accounts right now - in this article we will describe, not only how to hack a Facebook account, but also, how to protect your Facebook account.

As with all other popular site its global recognition interests numerous vicious individuals. Obviously you may use your Facebook account for numerous great things nonetheless the only thing these people intend is to compromise your account.

Cyber criminals are constantly getting cleverer and discovering innovative methods to take advantage of web sites. Having said that the following guide talks about a number of straightforward principles which can keep your account protected at the moment.

The most common Facebook hack

For a start, do not ever answer a post on your wall or even in your news feed prompting you to visit a url in order to validate your Facebook account or give your account password. A lot of people try to hack Facebook accounts this way so do not fall for it. Facebook will not ever demand this type of data in a public post. Whenever you are signed in to your account they will never ever have you validate your password. Why should they? You are already signed in therefore you certainly know it, and in case you can not sign in because you failed to remember the password there exists a simple, but safe way of resetting it.

The next thing to keep in mind is the fact that applications and games are certainly not always harmless and can often contain a hidden Facebook hack. Facebook features many handy and legit applications and games which users utilize daily, however, this enormous volume allows online hackers to fool users into giving access and utilizing applications which are merely scams. When anybody recommends you to add an application you have never heard about, contact them before you give access to the app and ask them whether they actually personally use that application and whether they actually sent the recommendation. Simply because it seems that something was sent to you from someone you know does not mean it truly was.

Also, when getting e-mails from Facebook make sure to be really watchful whenever urls are inside the email messages. Remember the fact that Facebook will rarely have you click url's contained in an mail. It is often preferable to sign in to Facebook to check out notifications as opposed to via e-mails. Do not forget that e-mails may be faked thus never trust the e-mail sender regardless of whom the email seems to be from.

Something which is starting to become a lot more widespread on Fb at the moment is weird links that show up onto your wall. Even if a link gets shared by your friend doesn't imply you automatically must trust it as reliable - it could be the next thing that hacks your Facebook account. The profile of your friend could have been taken over by a third party. The right way to investigate if your friend actually shared the website link is to contact him outside of Facebook and have him confirm it.

Another way to hack a Facebook account

One technique to protect your profile from online criminals would be to ensure that you exclusively use your Fb password on your Fb account. Plenty of people usually utilize the same password for all of their accounts which is certainly idiotic because you lose each of them if just a single one of the accounts gets broken into.

One other thing to remember would be to examine your profile timeline often. On your timeline you'll get a look at all the things you have shared on your Fb profile thus it will be easier to pick up on just about any unknown actions such as URL's linking to online Facebook hackers etc. If you discover something you don't recall doing then you could easily take it away by double clicking the activity.

For those who have not previously, you'll possibly experience friend requests by users who you do not know. The vast majority will probably be genuine requests however some of those could be coming from an automated Facebook hack, planning to hack into your Fb account. Generally speaking hardly ever accept friend requests coming from persons you don't recognise. Despite how kind or beautiful they appear. Understand that the individual displayed in the avatar might not be the person who created the user. Below are a few points to be aware of:

The steps every Facebook hacker will hate you for taking

How old is the contacts' profile? In case it turned out that it was joined in the last month or so, We'd suggest disregarding the friend request except if it originated from somebody you already know already.

What exactly do the images of the profile look? Do they seem like images that you will find shot during the course of a natural life or were they potentially gathered from another website online like a freebie picture webpage? Try to be primarily suspicious in case the images are suggestive photographs of a good-looking woman.

The cracker will most likely make an effort to advertise his malware sites via his imitation Fb profile. Hence the profile page of the profile will generally contain hyperlinks and adverts as opposed to the profile of a real human being.

Hopefully you learned something from this text and ideally you found the content valuable. Facebook is a popular internet site but precisely like anything else it must be browsed cautiously.

Kurt Vonnegut, in all his whimsy cynicism and infinite wisdom, has thus imparted a beautiful influence unto lyricism. Kid XL, Sean Anthony, is of the Lo-Fi and Indie Pop vein hailing from Perth, Australia. Rumination is a foreground element in Anthony’s lyrical composition, which is why it brilliantly matches Vonnegut’s quickness and the facetious Voltaire. Much like Mr. Vonnegut, Anthony is a storyteller, one who lingers with intrigue, searching. Kid XL’s thoughts: “To love you always, love forever, It wasn’t violent, we’re getting better.” There is a sense of wandering. He doesn’t stray in tangent, he thoughtfully provokes suggestions leading down paths, one in which he comes to embark. Anthony does not strike three chords and washes it down with effects either, as if the orchestration is just there as filler. That I find to be a tragic and true stereotype in various forms of Lo-Fi rock. Instead, he charismatically makes a persona for his music. From his April release Vacation to his newest single, he has made a distinctive, yet liberal style for himself to explore and cultivate diversely upon. “Madonna On Acid” is not only a track and Kid XL a band that you should keep a mindful eye on but, a blunt reminder that Lo-Fi does in fact still exist as a sophisticated genre not enshrouded with insignificant fodder.